DIGITAL DESIGN + FABRICATION SM1, 2016 Zzz-anywhere with Malak
Emily Thomas 760281 Noureddine El Moussaoui and Diana Sze Mei Ong Michelle James, Tutorial 1
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Contents: 1.0 Ideation
1.1 Object 1.2 Object Digitally Modelled 1.3 Object Analysis 1.4 Sketch Model Volume 1.5 Sketch Design Proposals 1.6 Rhino Workshop - Ronchamp 1.7 Reflection
2.0 Design
2.1 Design Development 2.2 Digitisation and Proposal One 2.3 Prototype Experimentation 2.3 Precedent Research 2.5 Development Version One 2.6 Devleopment Version Two 2.7 Person Space and Sleeping Positions Research 2.8 Design Development 2.9 Prototype One 2.10 Prototype Two 2.11 Reflection
3.0 Fabrication
3.2 Prototype Three (Joints) 3.3 Prototype Four 3.4 Final Prototype 3.5 The Constellation Effect 3.6 Portability and Storage 3.7 The Warning Effect 3.8 Final Digital Model 3.9 Fabrication Process 3.10 Assembly Drawing 3.11 The Sleeping Pod Exterior 3.12 The Sleeping Pod Interior 3.13 The Sleeping Pod in Use 3.14 Reflection
4.0 Reflection 5.0 Appendix
5.1 Credit 5.2 Bibliography 5.3 Time Lapse Video Link
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“Each night, when I got to sleep, I die. And the
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next morning, when I wake up, I am reborn.� - Mahatma Gandhi
The sleeping pod would be a product that would allow workers and university students to sleep at the workplace or outside of their home. It would need to protect the users’ personal space and convey an emotional effect which allows them to fall asleep in the unfamiliar environment. The sleeping pod should also be portable so it can be used in a wide variety of places and well as adaptable to any user. 5
1.0 IDEATION 6
Sketch Model
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Exploded Isometric Drawing
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1.1 - Object
When creating my measured drawing I first attempted to use the same technique as Heath, Heath and Jenson in ‘300 Years of Industrial Design’ (2000), sketching elevations based on measurements from the actual object. When I proceeded to the top view, however, the folds were not all even and hence proved difficult to transfer the three dimensional object to the page. So, I drew an isometric drawing at an angle of forty-five degrees, scaling the object down to 1:2 so it would fit on an A4 sheet of paper. I then double checked the measurements I had recoded and altered the drawing so it was to scale.
Front Elevation
Left Elevation
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Perspective Rhino Model
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1.2 - Object Digitally Modelled
To digitally model the folder, I began with half of the exterior shell and inserted repeated elements for the dividers. I then joined the dividers using the line tool to create a zig-zag pattern and the mirrored the entire design to create the other half of the folder.
Side Elevation
Front Elevation
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Analysis of Object
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1.3 - Object Analysis
The side elevation of the folder shows the movement of the object. The exterior pulls on the fan section and expands the folder to the maximum extent. Geometric Diagrams (top) to show the shape of the folder as it expands: 1. The hard plastic exterior keeps the folder closed and compacted 2. When opened, the hard plastic exterior pulls on the thinner plastic interior and opens each section 3. The exterior will pull the interior out as much as possible, allowing the folder to expand Exploded Diagrams (bottom): The folder is made up of three elements; the interior fold (left) which is thinner plastic folded every 10 mm in both directions, the interior repetetive panel (bottom right) where 12 panels are attached to every second fold on above panel and move with the expanded element, and the exterior skin (top right) made of thick, rigid plastic.
How the Object Opens
Elements of the Object
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Sketch Model Detail
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1.4 - Sketch Model Volume
The shape of my sketch model is based on the expandable folding element of the folder. This is the fanned section that can be seen in the side elevation. I copied this element, then extended it so it made a circular shape instead of an arc. Then, I popped the shape into a trianglular prism and glued it to a circular base. This shape would reflect the arc/triangle shape of the real folder. I then repeated this element, as the rectangluar shapes are repeated in the folder and attached them using the logic learned in the making workshop (when attaching the shapes, they were either forced up or down) to create a volume.
Sketch Model Plan
Sketch Model Elevation
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Shelter Design Idea
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1.5 - Sketch Design Proposals
I propsed three sketch designs which could have been used to inform the final sleeping pod design. The most successful was the design that used the echidna as a precedent. This incorporated the need to be protected whilst sleeping and did this by covering the most vulnerable past of the user’s body (the neck) with spikes. The second and third were based on covering, ventillation and blocking sight. These were less successful forms, but the ideas were used in the second module and were devleoped further.
Protection Design Idea
The idea of sight and covering the user’s eyes was adapted from the text Personal Space: The Behavioural Basis of Design (Sommer 1969) and would be explored further in the design development of the sleeping pod.
Vision Blocking Design Idea
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Ronchamp Interior Windows
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1.6 - Rhino Workshop - Ronchamp
Ronchamp Perspective
After completeing the excercises and workshops, I was able to model Le Corbusier’s Notre Dame de Haut (1951-1955). This modelling process would later inform my processes for modelling the sleeping pod.
Ronchamp Underside Perspective
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Sketch Model
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17 - Reflection
At the beginning of this module, I was assigned the expanding folder which was an object that elucidated the panel and fold technique. To draw this object, I used the advice from 300 Years of Industrial Design (Heath, Heath & Jenson 2000) to measure with a rule before showing all angles of the object and an exploded drawing as they demonstrated with the lightbulb in the book. To expound how my object worked, I traced the simple geometry outline of the expanding folder and illustrated the folder opening as the shapes got wider. This method was based on the drawing of the croissant (Miralles & Pinos 1991). This module ensured that I spent enough time with the expanding folder to get to know it and would help in the later modules when needing to document the final sleeping pod with drawings. Towards the end of the module, I created a sketch model, using the mechanism from the expanding folder and this was able to influence my initial ideas for the sleeping pod. Although the designs in this module are basic and need more detail, the ideas that developed moved through into the second module and allowed the sleeping pod to progress using ‘protection’ as a key element.
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2.0 - Design 22
Emily Thomas Malak Nourderine Diana Sze Mei Ong
Prototype Two Detail
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Malak’s Design Idea
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2.1 - Design Development
As a team, we took ideas from all three initial designs and developed them further. We all agreed on the crucial elements of a sleeping pod: protection of personal space, emotional effect and portability. We would communicate these ideas by developing the form as shown on the left hand page. This would fold down, using the same mechanism of the expanding folder and enclose a person to their waist. The design would be pointed to communicate the need for personal space and also create darkness and block out sound so the user could sleep.
Protection Design Idea
Diana’s Design Idea
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Perspective Rhino Model One
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2.2 - Digitisation and Proposal One
Using the digital modelling software, Rhino, we developed the overall shape into something that would fit on a human scale. This was helpful as it allowed us to see a three-dimensional rendering of our design and pointed out many flaws. The back element was a continuing problem however, as we initially had a separate back support with the actual design coming off it. While this worked, the piece appeared as two separate entities and we needed to alter the design. After this basic shape was created, we moved on to developing the pattern and the method for making the actual shape by hand. This is the first example of us mixing digital techniques with craftmanship.
Elevations of Rhino Model
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Pattern Detail
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2.3 - Prototype Experimentation
We had to physically fold the pattern we created to test its true effects. In the digitised prototype, the patterns were quite different and had very diverse effects. And so, from an array of patterns and experiments, we decided to choose two different patterns which would work well with the design: a zigzag folding pattern and a decorative pattern. Both of these were tested at a 1:5 scale as well as a 1:1 scale so we could test the final pattern, mechanism, and effects.
Pattern Detail (Decorative)
Then, using Rhino again, we created the pattern so it could be applied to the three dimensional model. This saved us a lot of time as the folding could take up to three hours for a single piece. In Rhino, we could use the pattern to panel many designs until we found a form we were content with.
Pattern Detail in Rhino
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USAFA Cadet Chapel - Walter Netsch of Skidmore, Owings, & Merrill, 1962 Image source: https://en.wikipedia.org/wiki/United_States_Air_Force_Academy_Cadet_Chapel
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2.4 - Precedent Research
The first precedent, the USAFA Cadet Chapel influenced the overall form of the design and the emotional effects we explored. The pointed top and the fold-like structure looked repelling, as if it was keeping someone out which is how we constrcuted the exterior of the sleeping pod. The interior (as seen on the left) used perforation in the building to create a light effect which we wanted to replicate in out design.
USAFA Cadet Chapel, Walter Netsch of Skidmore, Owings, & Merrill, 1962 Image Source: http://www.luminescentphoto.com/blog/2013/02/20/photo-of-theday-cadet-chapel-revisited/
The puppet theatre influenced the material choice for our sleeping pod. We chose a kraft paper that was soft on one side and shiny on the other. The soft interior side was warm and had an appealing look while the exterior was cold and uninviting. This was influenced by the diverse materials used in the puppet theatre (although the puppet theatre used a soft material on the outside and mirrors on the inside).
Puppet Theatre - Josep Lluis Sert, Eduard Sekler, Pierre Huyghe, 2004 http://www.mos-office.net/pavilion1/
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Rhino Model Development
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2.5 - Development Version One
Based on the USAFA Cadet Chapel precedent, we created a design which was similar in form and had spikes potruding to warn people away. However, the gap in the front of the design would never close entierly as the geometry would be complex to match up. This would take away from the emotional effect of sleeping we are trying to convey. This design also didnt cover enough of the body and would not protect personal space as well as a larger design.
Rhino Model Development Perspective
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Sleeping Position on Floor
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2.7 - Personal Space and Sleeping Positions Research
We discovered all the positions one can sleep in at work or university and documented them using elevations and plan views. This helped us gain a sense of what would be needed for the sleeping pod to be able to adapt to the users’ specific needs. We also used these photographs to show the different variations of personal space. The white glow indicates that the head and torso are the most vulnerable parts of the body and must be protected for a user to feel secure. This informed our sleeping pod design and helped us continue with the large sleeping pod that would provide enough space inside and keep other people from intruding on the users’ personal space.
Sleeping Position on Table Sleeping Position on Table
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Rhino Final M2 Development
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2.8 - Design Development
Based on feedback from the other two previous rhino models and our study on personal space and sleeping positions, we decided to have a more intergrated approach and design the back piece using the same geometry as the front. Therefore, it would have the same language even if the elements both had diverse functions. We also altered the shape of the design so it was more boxy and could be transported to more places, however, we later discovered that this shape compromised the asthetic quality of the sleeping pod and altered it again in M3.
Rhino Perspective
Rhino Elevations
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First Prototype Design
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2.9 - Prototype One
The initial prototype was made out of printer paper as this was easier to fold and cheaper to supply. Wr created a 1:5 sclae model and were able to see the mechanisms coming together instead of having individual pieces and fragments like we had at the beginning of this module. We were able to photoshop the image of the sleeping pod onto a user and show how it would work on a human scale. In doing this, we discovered the rigid back part would potrude into the users’ stomach whislt using the sleeping pod in the table position. This created some difficulty as we needed to have a sleeping pod that was adaptable for many users.
Prototype in Use
Prototype in Use
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Prototype Two
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2.10 - Prototype Two
Developing the initial prototype, we created another prototype at 1:5 scale out of the chosen material (kraft paper). This demonstrated how our original methods of folding would not work on the kraft paper as it was thicker and so we needed to score the pattern before folding. We also altered the back element yet again, changing it so it was retractable. It could be used in the chair and floor positions then moved so only the covering was used in the table position. This was more ideal than the last idea, however, it still needed some improvment as it still looked like a separate entity.
Prototype Two Interior
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Prototype Two with Effects
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2.11 - Reflection
The designs I created in module one were amalgamated with those from my team members, Malak and Diana, in order to develop the sleeping pod design. Using the digital program, Rhino, we were able to develop our design at a fast pace and communicated our ideas quickly for feedback. Initially, we created the sleeping pod in Rhino with a series of curved lines but we learned that this surface we wanted was not developable as the surfaces could not be made from paper if we were to try to construct the model in real life (Pottermann et al, 2007). Therefore, we altered the design using straight lines to create a basic form and were able to create a logical rhino model with detailed panelling that we would later construct by hand. The rest of the module was spent hand crafting many prototypes which were necessary as we were able to finally understand the mechanism we created through folding for hours. Our first prototype at a 1:5 scale made many problems evident to us so we were able to alter the design many times before the final design.
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3.0 Fabrication 44
Emily Thomas Malak Nourderine Diana Sze Mei Ong
Final Design Detail
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Prototype Two Detail
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3.1 - M2 Review
There were three main points of feedback from M2; the form was very square and not asthetically pleasing, the emotional effect needed to be enhanced and the back element was still seen as a separate entity. To combat these issues we made a number of alterations to the design.
Boxy Shape
Firstly, we altered the overal form so it responded better to personal space. We had the design taper inwards at the hips and outwards at the head as the head needed to be protected more for the user to feel comfortable enough to sleep. This additionally aided in enhancing the emotional effect as the design hugged the shape of the body more. Secondly, we needed to enhance the emotional effect and we did this by emphasising the perforations. We researched a number of constellations and used these to inform the perforations so the effect inside would be more similar to that of the USAFA Cadet Chapel. Finally, we needed to alter the back element and we did so by continuing the folds perpendicular to the front covering section. This would be leaned on when the sleeping pod was in the chair position, or, used as a covering when in the table position. This made our design more adaptable and asthetically pleasing which was the desired outcome.
Final Design Effect
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Pattern With Joint Tabs
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3.2 - Prototype Three (Joints)
Now that the form had been decided and we had begun folding the final prototype, we needed to decide on what kind of joints would be used. This presented an issue as the glue joints in the initial prototypes would not work for the final large scale piece. Therefore, we tested many joints such as rivets and bolts which would not work as there were too many folds to fan out. Therefore, we used a hinge, riveting it to the design. Again, this presented another problem as the cardboard was flimsy but we fixed it with a frame which would be hidden within the design. This would make the sleeping pod more stable and allow the joint mechanisms to attach to it. We also tested the tab system in this prototype and figured out how to attach the many pieces together.
Hinge Joint
Initial Joint Testing
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Patterning Detail
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3.3 - Prototype Four
Now testing with the full material size, we were able to decide on a final pattern and created it using digital techniques (illustrator) so it could be applied to the kraft paper. We then used this pattern to inform the scoring and chose lengths and angles of the folds. This then aided us make some final changes before we began crafting the final prototype.
Decorative Pattern
Zig-Zag Pattern
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Installing Lights
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3.4 - Final Prototype
The final prototype was used to test out the effects we needed to apply to the design in order to induce sleep. The first effect was the heaviness of the design (which came from the thick cardboard). This gave the effect of the user wearing a heavy blanket and was also very warm which would aid in conveying the emotional sleep inducing message. We also tested perforations on this prototype and discovered a thicker needle was better for the main holes and a thinner needle for other stars. This would make the design appear to be more like a night sky.
Effect Inside the Sleeping Pod
Finally, we tested the LED lights. These would be used to warn outsiders away and could be static or flashing, depending on the users’ preference. We could decide on the number and length of the lights in this final prototype, then could begin constructing the final design.
Paper Used for Final Design
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Effect Inside Sleeping Pod
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3.5 - The Constellation Effect
The placement of the perforations is decided based on a number of constellations with stories about sleep, hiding or overcoming adversaries. They would symbolise a refreshing journey where the user would emerge awake and ready to work, which is the purpose of the sleeping pod.
Chameleon Constellation
For example; the chameleon (top right) emphasises hiding within the sleeping pod for protection in plain sight. Therefore, the user would be able to go unoticed in a workplace or university while they slept. Additionally, the dove Columba(bottom right) is the dove Noah sent out to check if there was any land after the great floods. The dove returned with an olive branch which became a symbol of hope and survival. Therefore, under the sleeping pod, the user would be taken on a journey where their problems would be solved and they would awaken feeling refreshed.
Columba Constellation
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Storage of Model Behind a Desk
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3.6 - Portability and Storage
The sleeping pod design is one that can fold down flat as this was an element we set out in the initial brief. This means the pod can be used in a variety of spaces and environments and can be transported easily. The sleeping pod fits nicely behind a desk or under a bed and can be opened when required.
Detail of Sleeping Pod when Closed
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Warning Lights in the Sleeping Pod
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3.7 - The Warning Effect
Lights in Use
The LED lights used in the final design ward away outsiders and alerts others to the presence of a sleeping person. The lights also enhance the constellation effect inside as the wires light up like lines of stars.
Lights in the Interior
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Detail Final Rhino Model
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3.8 - Final Digital Model
The final Rhino model was created before the final design to test our sleeping pod to see if it would fit to a full scale human. Three final panels were used to make the sleeping pod; the zig zag panel, the stright panel and the decorative triangle panel which were all applied to the final design. This model additionally aided in the construction as we could pull apart certain elements to see how pieces fit together. Although the model is made predominantly by hand, the digital modelling process helped us save time and allowed us to communicate ideas quickly for feedback prior to the final construction.
Plan and Elevations of Final Rhino Model
Perspective of Final Rhino Model
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Fabricating the Decorative Element
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3.9 - Fabrication Process
First, we folded each piece of kraft paper (measuring then scoring and folding) by hand. Then, we cut tabs on the sides of the paper and glued the pieces together to create two separate coverings; the back and the front. The front was much simpler to craft as we had tested this element so many times. We knew how to join the frame with the hinges and glue everything together. The back element still presented some challenges but we were able to overcome them by using twine tied to the pieces like a shoelace so the panels could be retracted for storage.
Drawing the Pattern
Folding Pattern One
Folding Diagonal Elements
Pushing Pattern into Shape
Folding Pattern Properly
Final Pattern Folded
Drawing Decorative Pattern
Folding Pattern Initially
Folding Pattern into Shape
Pushing Pattern into Place
Final Touches on Pattern
Gluing the Pieces Together
Inserting the Metal Frame
Metal Frame Finished
Rivetting Hinges into Place
(See appendix for time lapse video of fabrication)
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Exploded Construction Drawing
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3.10 - Assembly Drawing
The assembly drawing highlights the different layers to the design. The frame is the first layer that holds everything together. It is made from metal elements which were riveted together inside the skin. The hinges are also part of the frame and ensure the sleeping pod can function.
Side Piece Detail
The skin element is made from nine zig-zag pattern elements and three decorative panels. These are glued together and create the covering. The final layer is the effects layer. This shows the diverse constelations and lights which are crucial to the final design of the sleeping pod.
Back Piece Detail
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3.11 - The Sleeping Pod Exterior
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3.12 - The Sleeping Pod Interior 69
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3.13 - The Sleeping Pod in Use 71
Final Detail Sleeping Pod
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3.14 - Reflection
This module saw us encountering and overcoming many design flaws. Technology was a good time saver and it allowed us to create patterns quickly for us to follow in the fabrication process (Kolarevic 2003). It also allowed us to communicate key design aspects for feedback when we created threedimensional rhino models. However, craftsmanship was a major part of our design process. Each piece of the sleeping pod was folded by hand and even though rhino allowed us to experiment with the forms, when we actually tried to replicate it, we were presented with issues with joints and mechanisms. Many of these problems were solved with research and by testing out ideas, however digital technology was helpful again in that we could test out these ideas before testing in reality. Therefore, we saved valuable time. After many prototypes, we were able to overcome these issues and finally created a piece which was made using a combination of digital technology and hand craft.
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4.0 REFLECTION
4.0 Reflection 74
Final Sleeping Pod
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Sleeping Pod Detail
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4.1 Reflection
In module one, the sketch model forced me to think about how to alter the expanding folder object to create something that could be used in the sleeping pod. This presented some key ideas, however, I felt my design ideas were lacking in a certain depth. In module two, I was able to delve deep into ideas that were more developed and apply my own ideas of protection and personal space to the ideas of my team members. The ideas were able to develop further as we communicated everything we were thinking about the design and altered it to the best of our ability to meet the needs established at the beginning in the brief. In module three, extensive prototyping was needed and was helpful for us to solve issues that arose. However, perhaps with more time we could have dove deeper into the design process and solved some issues better that we did not fix adequately enough. Going through the design process for such an extended period of time with a group of people helped our design morph into something we were proud of. I discovered that feedback is a crucial element to any good design and should be carefully considered and taken on board. It was challenging to work with a group sometimes as we often wanted to take different paths when designing but this enhanced the process even more. We were able to try many solutions to discover whose solution would work best. Often, I needed to prove that my solutions would work which was helpful as it necessitated spending more time with the project and the mechanism in order to truly understand it. The back element still remains to be an issue in the final sleeping pod design. The string does not adequately close the sleeping pod and is not strong enough to last for an extended period of time. To improve, I would perhaps use a stronger material for the back support and perhaps some sort off stronger press-stud as these worked, they were just too weak to hold the weight of the sleeping pod. Next time, I would try laser cutting to score the design onto the paper as the scoring and measuring process was lengthy. The wires also remain to be an issue in the sleeping pod as they remain exposed on the interior. Although the appearance is somewhat aesthetically pleasing, the wires take away from the effect inside the sleeping pod. Our sleeping pod design required a craftsmanship (Bernstien & Deamer, 2008) that technology could not provide. The folding needed to be done by hands and when one mistake was made, it was very difficult to overcome. We definitely took risks in the process of making by attempting to make the sleeping pod quickly which would cause us to lose focus and make mistakes. We also took risks in prototyping as some mechanisms were required to be handmade and if they did not work, we wasted time on a flawed design path when we could have been working towards the real design.
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5.0 Appendix 78
Sleeping Pod in Use
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5.1 - Credits
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5.2 - Bibliography Bernstein, P, Deamer, P, (2008), Building the future: recasting labour in architecture, Architectural Press, Princeton. Heath, A, Heath, D, & Jensen, A (2000), 300 years of industrial design: function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen, Watson-Guptill, New York. Kolarevic, B, (2003), Architecture in the digital age – design and manufacturing, Spon Press, London. Miralles, E, Pinos, C, (2000) How to lay out a croissant, El Croquis. Pottmann, H, Asperl, A, Hofer, M, Kilian, A (eds), (2007), Surfaces that can be built from paper, Bentley Institute Press. Scheurer, F, Stehling, H, (2011), Lost in parameter space? IAD: architectural design, Wiley. Sommer, R, (1969), Personal space: the behavioural basis of design, Prentice-Hall, Englewood Cliffs.
5.3 - Video Time Lapse Link
https://www.youtube.com/watch?v=IgboEDWaLl0
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